arXiv subjects

Silvan Peter

Publications and source records attributed to Silvan Peter.

8 recordsLinked to original sources

arXiv2026

A Flexible Encoding Model for Non-Unique Note Alignments

Symbolic music alignment links notes in a symbolic performance to their counterparts in a score. While existing alignment encoding formats provide unique correspondences between these notes, there are various musical practices and forms such as practice repetitions in rehearsal and improvised realizations in basso continuo that require a more flexible approach to encoding their alignments. In this paper, we propose a minimal, backward-compatible extension to the Match file format to support such non-unique and semantically complex alignments. We introduce two virtual pointer notes - virtual score notes and virtual performance notes - which allow to encode multiple links between performance and score notes. In addition we expand the Match file's 'section' line to include semantically meaningful annotations of performance regions beyond score-indicated musical repetitions. We further demonstrate the utility of these extensions through two representative use-cases in piano rehearsal and basso continuo.

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arXiv2026

Score-Agnostic Structure Analysis in Large-Scale Performance Datasets

In recent years, thanks to advances in automatic music transcription (AMT), several large-scale datasets of automatically transcribed piano solo music have been released. While these datasets undoubtedly offer extensive material for performance studies, they vary substantially in quality. In the case of classical music, performances often differ not only in expressive aspects such as tempo, but also in their structural interpretation of the score (including repeat patterns and edition-specific variants). To meaningfully use large-scale transcribed datasets for performance research, transcriptions of the same piece must be grouped according to their underlying structural realisation to support valid comparison. We address this by applying sequence-to-sequence alignment followed by hierarchical clustering: we create pairwise alignments for all pairs of transcriptions of a given piece, and use the alignment cost and (dis)similarity of performed sequence lengths to resolve structural mismatches as features for grouping. We propose this approach as a first step towards automatically evaluating large-scale transcribed datasets that lack ground-truth score and/or audio, shifting the evaluation criterion from truth-based accuracy to musical coherence and plausibility. We demonstrate our score-agnostic approach on around 1,500 transcriptions of 88 compositions from a recently published large-scale transcribed piano performance dataset.

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arXiv2026

Precise and Simple Audio-to-Score Alignment

Audio-to-score alignment is a long-standing challenge in music information retrieval and arguably the most widely applicable alignment task for music research. Alignment algorithms match two versions of a piece of music, and for this to work these versions need to be in comparable formats. Audio-to-audio alignment matches audio features; when matching audio files to scores, they must either synthesize the score or derive audio-like features by means of piano rolls or similar feature sequences. Symbolic alignment, by contrast, matches symbolically encoded notes; in an audio-to-score scenario these would be obtained by a transcription of the audio file. In this article, we present an algorithm that bridges audio-like and symbol-level features directly. Sequential audio features encoding onset and spectral activation are matched to score positions by a bespoke dynamic programming-based matching algorithm derived from symbolic alignment methods. The resulting method is both precise - surpassing widely used audio-to-audio approaches based on synthesized scores -, and remains flexible in its digital signal processing components, i.e., the method is adaptable to diverse timbral characteristics without requiring a separate transcription model. Furthermore it inherits some of the symbolic alignment runtime advantages with an algorithmic complexity that is at worst linear in the length of the (typically short) symbolic score and (typically long) audio feature sequence. In the following sections, we provide a detailed algorithm description and evaluate its alignment quality on a large-scale dataset of solo piano recordings.

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arXiv2025

How to Infer Repeat Structures in MIDI Performances

MIDI performances are generally expedient in performance research and music information retrieval, and even more so if they can be connected to a score. This connection is usually established by means of alignment, linking either notes or time points between the score and the performance. The first obstacle when trying to establish such an alignment is that a performance realizes one (out of many) structural versions of the score that can plausibly result from instructions such as repeats, variations, and navigation markers like 'dal segno/da capo al coda'. A score needs to be unfolded, that is, its repeats and navigation markers need to be explicitly written out to create a single timeline without jumps matching the performance, before alignment algorithms can be applied. In the curation of large performance corpora this process is carried out manually, as no tools are available to infer the repeat structure of the performance. To ease this process, we develop a method to automatically infer the repeat structure of a MIDI performance, given a symbolically encoded score including repeat and navigation markers. The intuition guiding our design is: 1) local alignment of every contiguous section of the score with a section of a performance containing the same material should receive high alignment gain, whereas local alignment with any other performance section should accrue a low or zero gain. And 2) stitching local alignments together according to a valid structural version of the score should result in an approximate full alignment and correspondingly high global accumulated gain if the structural version corresponds to the performance, and low gain for all other, ill-fitting structural versions.

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arXiv2025

Pairing Real-Time Piano Transcription with Symbol-level Tracking for Precise and Robust Score Following

Real-time music tracking systems follow a musical performance and at any time report the current position in a corresponding score. Most existing methods approach this problem exclusively in the audio domain, typically using online time warping (OLTW) techniques on incoming audio and an audio representation of the score. Audio OLTW techniques have seen incremental improvements both in features and model heuristics which reached a performance plateau in the past ten years. We argue that converting and representing the performance in the symbolic domain -- thereby transforming music tracking into a symbolic task -- can be a more effective approach, even when the domain transformation is imperfect. Our music tracking system combines two real-time components: one handling audio-to-note transcription and the other a novel symbol-level tracker between transcribed input and score. We compare the performance of this mixed audio-symbolic approach with its equivalent audio-only counterpart, and demonstrate that our method outperforms the latter in terms of both precision, i.e., absolute tracking error, and robustness, i.e., tracking success.

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arXiv2023

Discrete Diffusion Probabilistic Models for Symbolic Music Generation

Denoising Diffusion Probabilistic Models (DDPMs) have made great strides in generating high-quality samples in both discrete and continuous domains. However, Discrete DDPMs (D3PMs) have yet to be applied to the domain of Symbolic Music. This work presents the direct generation of Polyphonic Symbolic Music using D3PMs. Our model exhibits state-of-the-art sample quality, according to current quantitative evaluation metrics, and allows for flexible infilling at the note level. We further show, that our models are accessible to post-hoc classifier guidance, widening the scope of possible applications. However, we also cast a critical view on quantitative evaluation of music sample quality via statistical metrics, and present a simple algorithm that can confound our metrics with completely spurious, non-musical samples.

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arXiv2023

The ACCompanion: Combining Reactivity, Robustness, and Musical Expressivity in an Automatic Piano Accompanist

This paper introduces the ACCompanion, an expressive accompaniment system. Similarly to a musician who accompanies a soloist playing a given musical piece, our system can produce a human-like rendition of the accompaniment part that follows the soloist's choices in terms of tempo, dynamics, and articulation. The ACCompanion works in the symbolic domain, i.e., it needs a musical instrument capable of producing and playing MIDI data, with explicitly encoded onset, offset, and pitch for each played note. We describe the components that go into such a system, from real-time score following and prediction to expressive performance generation and online adaptation to the expressive choices of the human player. Based on our experience with repeated live demonstrations in front of various audiences, we offer an analysis of the challenges of combining these components into a system that is highly reactive and precise, while still a reliable musical partner, robust to possible performance errors and responsive to expressive variations.

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arXiv2020

On the Characterization of Expressive Performance in Classical Music: First Results of the Con Espressione Game

A piece of music can be expressively performed, or interpreted, in a variety of ways. With the help of an online questionnaire, the Con Espressione Game, we collected some 1,500 descriptions of expressive character relating to 45 performances of 9 excerpts from classical piano pieces, played by different famous pianists. More specifically, listeners were asked to describe, using freely chosen words (preferably: adjectives), how they perceive the expressive character of the different performances. In this paper, we offer a first account of this new data resource for expressive performance research, and provide an exploratory analysis, addressing three main questions: (1) how similarly do different listeners describe a performance of a piece? (2) what are the main dimensions (or axes) for expressive character emerging from this?; and (3) how do measurable parameters of a performance (e.g., tempo, dynamics) and mid- and high-level features that can be predicted by machine learning models (e.g., articulation, arousal) relate to these expressive dimensions? The dataset that we publish along with this paper was enriched by adding hand-corrected score-to-performance alignments, as well as descriptive audio features such as tempo and dynamics curves.

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